ROBIN PHILLIPS - Re-versed
Self Release (www.repmusic.co.uk)
Robin Phillips - Piano/vocals; Brandon Allen - Tenor sax; Sammy Mayne - Alto sax; Jihad Darwish - Bass; Seb De Krom - Drums
Robin Phillips has been part of the London jazz scene for several years and has received praise for his music. This CD was recorded in the repmusic studio in Cambridgeshire that Robin has been developing over the past five years, with Robin producing the album from start to finish. The studio was developed to enable Robin to record more frequently for online content, and also to enable him to spend more time on recordings to achieve the results he desired.
The title should give it away of course. 'Re-Versed' is an album of lost verses of jazz standards given new interpretations by UK jazz singer / pianist Robin Phillips. The album takes a fresh look at these lost verses and 'Re-Verses' them in a series of new arrangements. It features, along with Robin, several well known jazz musicians.
The ‘sectional verses’ of jazz standards are introductions before the more commonly-known refrain starts. Originally, they were used as a link between the spoken and sung parts of a scene in musical theatre. They often explain and set up the story which is to unfold in the main part of the tune. Many of these sectional verses have been lost over time and are no longer performed as part of the song, sometimes due to restrictions in recording medium such as vinyl, or the length required of performed numbers (and attention span of audiences). Also due to the way songs are performed in modern settings. In ‘Re-Versed’, Robin has selected nine classic standards to reconnect with their original verses, and in some uses them as a verse in the traditional verse/chorus sense, returning to them after the solo sections or at the end. Robin told me, “Having spent so much time researching and then recording this album, it feels fantastic to finally get it out into the world. The benefit of the new digital streaming methods means you can keep up-to-date with where on the planet people are engaging with the music, including if people ‘Shazam’ a track which also means it’s being played on a radio station for them to hear it. I’ve also enjoyed hearing back about which tracks people most enjoy on the album, so far it’s been very varied which is ideal for me as it means each track earned its place on the album!”
'Time After Time' opens the CD. After its lingering introduction, it develops a swinging, very listenable melody and Robin has a great delivery. His lyrical interpretation of the number is effective. There is a terrific sax solo and the track sets the tone for the album, which is stuffed to the brim with original arrangements of the lost verses ( and original verses too) of standards. 'Spring Can Really Hang You Up The Most' is balladic and the story of love tried and lost is told with tongue firmly planted in cheek. The ending is a surprise and definitely not in the traditional form.
'It Had To Be You' is a rapid-fire, well honed and textured version, sung with lyrics as clear as bells with gorgeous staccato wood and percussion behind the vocals, which vary in style and tempo, there is a lovely interplay between the drums and voice before the piano takes the lead and delivers one of the best worked solos on the album - there are many by the way. The bass and sax take a line or two to themselves with percussion adding emphasis, all adding up to a great version of this number which can sometimes be delivered too straight - not the case here.
The album continues in this vein with numbers like 'As time Goes By', ' These Foolish Things' ( which features another great piano solo) and 'On Green Dolphin Street', which is as individual an interpretation of this number as I have heard for a long time and includes a beautiful bass solo form Jihad Darwish. 'They Can't Take That Away From Me' is worked over a syncopated 6/4 rhythm which works a treat and the saxophone solo is quite delicious. Robin Phillip's voice suits this track to a tee. 'A Nightingale Sang In Barclay Square' is simply delivered and this makes for a very effective introduction, before the build up with the familiar lines being delivered with the Phillips touch.
'Don't Blame Me' is introduced with a vocal line over clapping before the piano, then sax, then bass and drums drop in and develop the textures. A snappy and happy way to complete what is a very entertaining album. Watch for the piano solo on the final track too.
An admission - when I saw this was covers, my heart sank a little as I have heard many covers, some good, some not. I was intrigued , however by the lost verses inclusions and my heart lifted when I saw the line-up and even more when I pressed play and let the album roll. It is not like other cover albums, the interpretations are quirky, different and very well conceived. Using the sectional verses is a stroke of genius because they, by definition, make the tracks different form the familiar forms. The musicians are used really well and deliver quality, as expected right down to the final sax outre on the last track. Delivering the lost, discarded, or simply no longer needed parts of tracks along with retaining much of the original lines in some is a great idea because it is a reminder of the qualities of the compositions and the way which music of value could have been lost. Here Robin Phillips takes the verses, tinkers with them, slots them where appropriate with parts or wholes of the originals and creates something which is familiar yet unique. Within each number there is often a variation of tempo, rhythm and Phillips has a knack of using the same rhythm, adjusting the tempo and then re-adjusting in such a way that you remain engaged whilst not over -challenged. A great album and hugely worth listening to time after time.
Reviewed by Sammy Stein
Self Release (www.repmusic.co.uk)
Robin Phillips - Piano/vocals; Brandon Allen - Tenor sax; Sammy Mayne - Alto sax; Jihad Darwish - Bass; Seb De Krom - Drums
Robin Phillips has been part of the London jazz scene for several years and has received praise for his music. This CD was recorded in the repmusic studio in Cambridgeshire that Robin has been developing over the past five years, with Robin producing the album from start to finish. The studio was developed to enable Robin to record more frequently for online content, and also to enable him to spend more time on recordings to achieve the results he desired.
The title should give it away of course. 'Re-Versed' is an album of lost verses of jazz standards given new interpretations by UK jazz singer / pianist Robin Phillips. The album takes a fresh look at these lost verses and 'Re-Verses' them in a series of new arrangements. It features, along with Robin, several well known jazz musicians.
The ‘sectional verses’ of jazz standards are introductions before the more commonly-known refrain starts. Originally, they were used as a link between the spoken and sung parts of a scene in musical theatre. They often explain and set up the story which is to unfold in the main part of the tune. Many of these sectional verses have been lost over time and are no longer performed as part of the song, sometimes due to restrictions in recording medium such as vinyl, or the length required of performed numbers (and attention span of audiences). Also due to the way songs are performed in modern settings. In ‘Re-Versed’, Robin has selected nine classic standards to reconnect with their original verses, and in some uses them as a verse in the traditional verse/chorus sense, returning to them after the solo sections or at the end. Robin told me, “Having spent so much time researching and then recording this album, it feels fantastic to finally get it out into the world. The benefit of the new digital streaming methods means you can keep up-to-date with where on the planet people are engaging with the music, including if people ‘Shazam’ a track which also means it’s being played on a radio station for them to hear it. I’ve also enjoyed hearing back about which tracks people most enjoy on the album, so far it’s been very varied which is ideal for me as it means each track earned its place on the album!”
'Time After Time' opens the CD. After its lingering introduction, it develops a swinging, very listenable melody and Robin has a great delivery. His lyrical interpretation of the number is effective. There is a terrific sax solo and the track sets the tone for the album, which is stuffed to the brim with original arrangements of the lost verses ( and original verses too) of standards. 'Spring Can Really Hang You Up The Most' is balladic and the story of love tried and lost is told with tongue firmly planted in cheek. The ending is a surprise and definitely not in the traditional form.
'It Had To Be You' is a rapid-fire, well honed and textured version, sung with lyrics as clear as bells with gorgeous staccato wood and percussion behind the vocals, which vary in style and tempo, there is a lovely interplay between the drums and voice before the piano takes the lead and delivers one of the best worked solos on the album - there are many by the way. The bass and sax take a line or two to themselves with percussion adding emphasis, all adding up to a great version of this number which can sometimes be delivered too straight - not the case here.
The album continues in this vein with numbers like 'As time Goes By', ' These Foolish Things' ( which features another great piano solo) and 'On Green Dolphin Street', which is as individual an interpretation of this number as I have heard for a long time and includes a beautiful bass solo form Jihad Darwish. 'They Can't Take That Away From Me' is worked over a syncopated 6/4 rhythm which works a treat and the saxophone solo is quite delicious. Robin Phillip's voice suits this track to a tee. 'A Nightingale Sang In Barclay Square' is simply delivered and this makes for a very effective introduction, before the build up with the familiar lines being delivered with the Phillips touch.
'Don't Blame Me' is introduced with a vocal line over clapping before the piano, then sax, then bass and drums drop in and develop the textures. A snappy and happy way to complete what is a very entertaining album. Watch for the piano solo on the final track too.
An admission - when I saw this was covers, my heart sank a little as I have heard many covers, some good, some not. I was intrigued , however by the lost verses inclusions and my heart lifted when I saw the line-up and even more when I pressed play and let the album roll. It is not like other cover albums, the interpretations are quirky, different and very well conceived. Using the sectional verses is a stroke of genius because they, by definition, make the tracks different form the familiar forms. The musicians are used really well and deliver quality, as expected right down to the final sax outre on the last track. Delivering the lost, discarded, or simply no longer needed parts of tracks along with retaining much of the original lines in some is a great idea because it is a reminder of the qualities of the compositions and the way which music of value could have been lost. Here Robin Phillips takes the verses, tinkers with them, slots them where appropriate with parts or wholes of the originals and creates something which is familiar yet unique. Within each number there is often a variation of tempo, rhythm and Phillips has a knack of using the same rhythm, adjusting the tempo and then re-adjusting in such a way that you remain engaged whilst not over -challenged. A great album and hugely worth listening to time after time.
Reviewed by Sammy Stein
